By Sheila Barth
BOX INFO: Almost three-hour, two-act musical, by Sherman Edwards, book by Peter Stone, appearing at New Repertory Theatre through Dec.23, at Mosesian Center for the Arts, MainStage Theatre, 321Arsenal St., Watertown. Showtimes vary. $25-$72. student,senior,group discounts, 617-923-8487, newrep.org.
Sometimes, innovation in a theatrical production works great. Think award-winning productions like Lin Manuel Miranda’s wildly famous, cross-gender, mixed race historic musical,“Hamilton”. Miranda’s fusion of musical genres is exciting and memorable, too. However, at New Repertory Theatre’s production of Tony Award-winning musical “1776,” incorporating the same innovative casting trends loses something in translation.
The pace and timing needs work, too. The first act is long and draggy, but the second act gains momentum and excitement. In a statement to the media, accomplished Boston-area director-choreographer, Kelli Edwards, said, “The most unique thing about this production of ‘1776’ is the non-traditional casting. We have women playing men, men playing women and many people of color in key roles. It was of great importance that the cast be fully representative of today’s America.”
Forget the non-traditional casting for a moment. Despite some theatrical standouts, New Repertory’s almost three-hour production of “1776” loses the battle. The first act is too long, dragged down by repetition and unmemorable songs. In fact, I wondered why the play won a Tony Award. It needs some cutting and editing.
Co-directed by Broadway veteran Austin Pendleton, the 24-member cast boasts some renowned Boston area, award-winning actors, including popular, versatile, outstanding Benjamin Evett, brilliantly portraying John Adams; superlative actress Bobbie Steinbach as wise-cracking, tongue-in-cheek Benjamin Franklin; Aimee Doherty as Pennsylvania naysayer John Dickinson; Shannon Lee Jones as South Carolina’s Edward Rutledge; Liliane Klein portraying Delaware representative Thomas McKean; Luis Negron as Charles Thomson; and others.
Steinbach is great as Franklin. And Dan Prior’s portrayal of young, lovely Martha Jefferson, admiringly singing “He Plays the Violin,” adds levity. African-American actor KP Powell portraying Thomas Jefferson drew snickers from theatergoers with his impassioned speech opposing slavery. History reveals Jefferson was a major slave owner who dallied with his female slaves. Meanwhile, Dickinson is a British loyalist, claiming he doesn’t want to offend anybody. “It’s a revolution, damn it!” Adams spouts. “We’re going to have to offend somebody!”
In opening number, “For God’s Sake, John, Please Sit Down!,” Evett portraying John Adams sputters and shouts to his fellow Continental Congressional cohorts, while the assemblage tries to shout him down. He’s obnoxious and nobody likes him, they sing. Adams knows that, but refuses to relent. “You piddle, and twiddle,” he sings forcefully. The founding fathers representing the colonies had sat for days, accomplishing nothing. Adams also reveals a softer side in his duets with pragmatic, patient wife, Abigail (Carolyn Saxon), singing,”Till Then,” and “Yours, Yours, Yours”.
With Cristina Todesco’s tapestry-like triptych background and a dominant, huge, centrally-located floor-to-ceiling Union Jack flag, the Continental Congress chairs are arranged in a semi-circle. The assemblage spend more time bickering among themselves, while the threat of England’s landing 23,000 more British troops with German mercenaries looms over them, providing more urgency to decrease oppression and adopt their own new government. While Dickinson and others remain England sympathizers, Adams spouts, shouts and sputters against England’s barrage of new taxes imposed on the colonists.
Adams also opposes slavery and wants Jefferson’s proposed preamble words “All men are created free and equal” to mean what they’re saying. Arguments break out between South Carolina’s Rutledge (Shannon Lee Jones) and Adams, with Rutledge attacking Adams for his hypocrisy in her powerful song, “Molasses to Rum”. The play encompasses June 4 to July 4, 1776, with George Washington and other patriots leading troops of “ragtag farmers” into deadly skirmishes and battles. Washington sends missives by emissaries, reporting about losses, their lack of supplies and men. In a touching scene, a young courier (Steven Martin) pleads, “Momma, Look Sharp,” as he lies dying on a battlefield.
Despite its flaws, New Rep’s 1776” is poignant today, especially with closing song, “Is Anybody There?” Does anybody care? Is anybody listening?
